The Wandering DP Podcast: Episode #242 – The Light Bridge
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Okay party people here we go!

We're back with another breakdown this week. This time we move between secluded outdoor areas and controlled indoor spaces. We had to move fast and be nimble, but still look good.

It was fun doing this commercial as we went through so many setups in the 3 days. Let's dive in and take a look.

Enjoy!

If you are interested in commercial cinematography and want to get the most out of preproduction, this course is for you.

In this course, I created a step-by-step action plan to access commercial production radars and level up your projects by maximizing the prep time you have.

Listen:

Commercial Cinematography – The Foundation

This week on Patreon we are watching 3 very different films with 3 very different scenes that all happen to take place in a moving bus.

I've done a number of talented commercials on a bus and they're always tricky. It comes down to one important choice: a real moving bus or a green screen.

Answering this question is easier for work in the car, as the infrastructure that you need for convincing work in the studio is considerably smaller. The larger size of a bus mostly means that at the level I work at, we are taking photos in a moving bus in the real world.

This limits lighting options, so a firm plan is required to ensure you don't leave anything on the table in terms of graphics.

In this week's Patreon Podcast, we take a look at different budget levels and how each film addresses the same issues you will face if you should ever be on a bus.

To see the pictures and listen to the special Breakdown Podcast, click the link below:

The Greenscreen DP Patreon

Shot 1 – The frame

The shot

Mother and son build a model airplane.

The lighting

This was a crazy day as we had a ton of setups in one place. We needed lighting solutions that would allow us to record entire rooms / scenes without too much change from shot to shot.

Here we posted a CRLS 4×4 frame out the window and then used the drapes and drapes to tame the light.

The light going into the Light Bridge CRLS was an Arri M40 just below the window.

Inside is Neg on the near wall in the room and an Arri Skypanel S-60 in the room that pops into the ceiling for a little carry.

The result

Shot 2 – In the room

The shot

The boy's single when he built the model airplane.

The lighting

We kept most of what was there before, but swapped the Skypanel as we couldn't see the key's window frame properly.

We snuck into some diffusion to open up the space a bit and brought the neg closer to the left.

The result

Shot 3 – Again but firmer

The shot

A close up of the model airplane building.

The lighting

See above.

The result

Shot 4 – The Connection

The shot

Mother and son sit and read.

Simple enough but we wanted to add some depth to the background so we positioned the chair away from the wall.

The lighting

We used the same CRLS Light Bridge 4×4 goal post outside paired with the Arri M40 as the key light.

In the background music we used another Arri M40 as well as a Joker 1800 and an Arri M18 to spark interest.

The left frame is a Skypanel that slides through a 6×6 1/4 grille to add some ambient temperature.

The result

Shot 5 – The Fall Off

The shot

Boy is sleeping in the chair while mom is on the phone in the background.

The lighting

Same as above, but we've changed the lighting angles and levels and removed the Skypanel room tone.

The result

Shot 6 – day after night

The shot

In this shot the boy goes to sleep while mom puts him in. The challenge was to shoot day after night and do so with all the constraints of the schedule.

The lighting

In front of the window is an Arri Skypanel S-60. In the room there is a 500x China Ball that hangs directly above the internship.

The internship is dimmed way down and there is a single 4 foot titanium tube in the hallway to give just a touch of level.

The result

Shot 7 – One light

The shot

A band is jamming in their grage.

The lighting

We originally planned to shoot this during the day but due to schedule restrictions we had to postpone it to full night.

We used 2 Litemat 4s as an overhead source and bypassed the rig to keep it off the walls.

We added haze and peppered the Christmas lights in the background and the internships.

The result

Shot 8 – The band

The lighting

Same as above.

The result

Shot 9 – closer

The lighting

Same as above.

The result

Shot 10 – on the go

The shot

Our hero talent examines the solar panels.

The lighting

This was the first day of our little splinter shoot. No lights or handles so it was all due to the sun and we got properly aligned.

Here the sun just emerges from the frame and gives us the backlight.

The result

Shot 11 – but closer again

The lighting

Same as above.

The result

Shot 12 – wind farm

The shot

In this last series of shots, we had a family watching a wind farm in action.

We didn't get the weather we were hoping for, but we got it to work in the end.

The lighting

As a super small unit, we fully relied on the weather and our digital scout to find the best direction.

The weather didn't look good when we landed, but we were still trying to aim for the little sun to make things a little more shapely.

The result

Shot 13 – Break in the Clouds

The lighting

See previous breakdown.

The result

Shot 14 – The balance

The lighting

See previous breakdown.

The result

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